The Locator -- [(subject = "France--Civilization--1830-1900")]

42 records matched your query       


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03756aam a2200505 i 4500
001 9D970250E96D11E8978F920F97128E48
003 SILO
005 20181116010210
008 170728s2018    okuab    b   s001 0 eng  
010    $a 2017035329
020    $a 0806160039
020    $a 9780806160030
035    $a (OCoLC)995805987
040    $a DLC $b eng $e rda $c DLC $d OCLCO $d OCLCF $d BDX $d OCLCQ $d YDX $d ERASA $d FXM $d YDX $d SILO
042    $a pcc
043    $a n-us--- $a e-fr--- $a n-us---
050 00 $a NX653.W47 $b B87 2018
082 00 $a 700/.45878 $2 23
100 1  $a Burns, Emily C., $e author.
245 10 $a Transnational frontiers : $b the American West in France / $c Emily C. Burns.
264  1 $a Norman : $b University of Oklahoma Press, $c [2018]
300    $a xi, 231 pages : $b illustrations (some color) ; $c 28 cm.
490 1  $a The Charles M. Russell Center series on art and photography of the American West ; $v volume 29
504    $a Includes bibliographical references and index.
520 8  $a When Buffalo Bill?s Wild West show traveled to Paris in 1889, the New York Times reported that the exhibition would be ?managed to suit French ideas.? But where had those French ideas of the American West come from? And how had they, in turn, shaped the notions of ?cowboys and Indians? that captivated the French imagination during the Gilded Age? Emily C. Burns maps the complex fin-de-siecle cultural exchanges that revealed, defined, and altered images of the American West. This illustrated visual history shows how American artists, writers, and tourists traveling to France exported the dominant frontier narrative that presupposed manifest destiny - and how Native American performers with Buffalo Bill?s Wild West and other traveling groups challenged that view. Many French artists and illustrators plied this imagery as well. At the 1900 World?s Fair in Paris, sculptures of American cowboys conjured a dynamic and adventurous West, while portraits of American Indians on vases evoked an indigenous people frozen in primitivity. At the same time, representations of Lakota performers, as well as the performers themselves, deftly negotiated the politics of American Indian assimilation and sought alternative spaces abroad. For French artists and enthusiasts, the West served as a fulcrum for the construction of an American cultural identity, offering a chance to debate ideas of primitivism and masculinity that bolstered their own colonialist discourses. By examining this process, Burns reveals the interconnections between American western art and Franco-American artistic exchange between 1865 and 1915.
651  0 $a West (U.S.) $v In art.
650  0 $a Indians of North America $x Material culture $z West (U.S.)
651  0 $a France $x Civilization $y 1830-1900.
651  0 $a France $x Civilization $y 1901-1945.
651  0 $a France $x American influences. $x American influences.
651  0 $a United States $x Relations $z France.
651  0 $a France $x Relations $z United States.
650  7 $a Civilization. $2 fast $0 (OCoLC)fst00862898
650  7 $a Civilization $x American influences. $2 fast $0 (OCoLC)fst00862901
650  7 $a Indians of North America $x Material culture. $2 fast $0 (OCoLC)fst00969831
650  7 $a International relations. $2 fast $0 (OCoLC)fst00977053
651  7 $a France. $2 fast $0 (OCoLC)fst01204289
651  7 $a United States. $2 fast $0 (OCoLC)fst01204155
651  7 $a United States, West. $2 fast $0 (OCoLC)fst01243255
648  7 $a 1830-1945 $2 fast
655  7 $a Art. $2 fast $0 (OCoLC)fst01423702
830  0 $a Charles M. Russell Center series on art and photography of the American West ; $v 29.
941    $a 1
952    $l OVUX522 $d 20191213015052.0
956    $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=9D970250E96D11E8978F920F97128E48

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